DOCSLIB.ORG

Documentary Film Festival May 22–31, 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Documentary Film Festival May 22–31, 2009 DOCUMENTARY FILM FESTIVAL MAy 22–31, 2009 FESTIVAL GUIDE www.doxafestival.ca VANCOUVER, CANADA ORDER TICKETS TODAY [PAGE 3] PRESENTING PARTNER TABLE OF CONTENTS Tickets and General Festival Info . 3 Pulling John . 43 The Documentary Media Society . 5 Chasing Wild Horses . 45 Acknowledgements . 6 The Memories of Angels . 45 Greetings from our Funders . 9 Essay: Word Within the Word . 46 Welcome from DOXA . 11 Waterlife . 47 Awards . 13 Word Within the Word . 47 DOXA Youth Programs . 15 I Want to Grow Old in China . 49 OPENING NigHT FILM: Inside Hana’s Suitcase . 17 The Dungeon Masters . 49 CLosiNG NigHT FILM: Act of God . 19 To The Tar Sands . 51 A Dream for Kabul . 20 Here Are The News . 51 Shooting Women . 21 Mirage of El Dorado . 53 FORUM: Women Behind the Camera . 21 Necrobusiness . 53 Shots in the Dark . 22 Essay: The Sixties . 54 Robinsons of Mantsinsaari . 23 The Sixties: From 1969 to 2009 . 55 Hair India . 23 The One Percent . 55 The Queen and I . 25 Afghan Girls Can Kick . 57 Milking the Rhino . 25 The Sweetest Embrace . 57 Youssou N’Dour: I Bring What I Love . 27 Devil’s Bargain . 59 Nobody’s Perfect . 27 In a Dream . 59 …And Music . 29 Say My Name . 61 Ex-voto for Three Souls . 29 American Swing . 61 The Art of the Short Documentary . 31 Land of Oil and Water . 63 Eternal Mash . 31 FORUM: Where is the Line? . 63 Shining Stars / Maytal . 33 Rough Aunties . 65 The Meaning of Life . 33 The Tree Lover . 65 Yodok Stories . 35 The Garden . 67 Soneros: The Sound of the River . 35 Carmen Meets Borat . 67 Festival Schedule . 36 Jehad In Motion . 68 Forgetting Dad . 39 Upstream Battle . 69 7915 KM . 39 FORUM: The Ecology of Films . 69 Tulku . 41 Essay: Reality Sandwiches . 70 Seeking Refuge . 41 Welfare . 71 Who The Jew Are You? . 42 My Mother’s Farm . 71 Transit Dubai . 43 Front Cover Image from 7915 KM (page 39) by Nikolaus Geyrhalter Printed on 100% post-consumer recycled paper TICKETS AND GENERAL FESTIVAL INFO TICKETS Biz Books 302 West Cordova Street Opening Night Film: $15 10am – 6pm Monday to Friday Opening Night Film with Party: $35* 11am – 6pm Saturday Single Tickets: $10 12pm – 5pm Sunday Festival Pass (excludes Opening Night): $125 (includes $2 membership) TICKETS AT THE DOOR Membership: $2 Only tickets for day of screening can be purchased at the screening Forums and Richard Fung Installation are free of charge. venue . Box Office opens 30 minutes prior to each screening . Cash only at venues . * Opening Night Party – May 22, 2009 at 9:30pm Join us at the Vancouver Art Gallery following the Opening Night Film . Enjoy scrumptious Subeez nibbles with Peller Estate’s fine RUSH TICKETS wines or a hand-crafted brew from Storm Brewing — and listen in If a show is sold out, rush tickets may be available at the door . A on the hot tickets buzz — all while supporting DOXA! generous allotment of seats are reserved for passholders . Any un- claimed seats will be released just prior to the screening on a first MEMBERSHIP come, first served basis . The Documentary Media Society presents films that have not been seen by the BC Film Classification Board . Under BC law, anyone WILL CALL wishing to see these unclassified films must be a member of the Tickets and festival passes purchased online can be picked up from Documentary Media Society and 18 years of age or older . When Will Call at the festival theatre of your first screening . You must you purchase a membership for $2, you are entitled to attend any present your confirmation number in order to pick up your tickets . screening in 2009, provided you show your membership card . Will Call opens one hour prior to screening for opening and closing The following films have been classified for younger audiences and night and 30 minutes prior for all other screenings . Please arrive in will therefore not require a membership: Afghan Girls Can Kick, advance to allow time to pick up your order (especially for opening Chasing Wild Horses, Inside Hana’s Suitcase, To the Tar Sands. night) . THEATRE PROCEDURES FOR FESTIVAL VENUES PASSHOLDERS Empire Granville 7 Theatre [G7] Bring your festival pass to Will Call to receive your admittance 855 Granville Street (at Robson) ticket(s) for the film(s) you wish to see at that venue for that day . Pacific Cinémathèque [PC] Once you have your ticket you may join the ticket holders queue . 1131 Howe Street (at Helmcken) Passholders must arrive at the venue at least 20 minutes prior to the screening . A festival pass does not guarantee you seating to Vancity Theatre [VT] sold-out shows . Your DOXA festival pass gives you access to all 1181 Seymour Street (at Davie) screenings except Opening Night . All passes are strictly non- Vancouver Art Gallery [opening night party only] transferable and passholders are required to show ID and valid 750 Hornby Street entrance (between Georgia & Robson) membership . ACCESSIBILITY ADVANCE TICKETS All theatres are wheelchair accessible with limited spots available . Advance tickets are available for purchase until 9pm the day before the screening . FESTIVAL INFORMATION Online at www .doxafestival .ca DOXA Office Please note: All festival passes and tickets purchased online are #5 – 1726 Commercial Drive subject to processing fees. Vancouver, BC, Canada V5N 4A3 Bibliophile Bookshop CasH ONLY 604 646 3200 | www .doxafestival .ca 2010 Commercial Drive 11am – 6pm Daily Videomatica CasH ONLY 1855 West 4th Avenue 11am – 10pm Sunday to Thursday 11am – 11pm Friday & Saturday 3 Equipped with single-use cameras, your favorite celebs have unleashed their point & shoot creativity to support exposed! DOXA’s Celebrity Camera Auction. Be the highest bidder to own a unique set of undeveloped snapshots, exposing the remarkable lives and extraordinary visions of some of today’s most celebrated public figures . Auction runs throughout the festival . Check out www.doxafestival.ca for more information . FEaturiNG CAMEras from Martin Sheen • Jennifer Beals • George Stroumboulopoulos • K-OS • Robert Kennedy Jr . • Mary Walsh • Colin Mochrie Tegan Quin • Avi Lewis • Issa • Jann Arden • Peter Mansbridge • Randy Bachman • Rick Hansen • Colin James • The Weakerthans • Sarah Slean Matthew Good • Veda Hille • Ivan e . Coyote • Joey Shithead • Lisa Brokop • Fred Ewanuick • Gloria Macarenko • Ian Hanomansing • Rob Stewart Ze Frank • Eric Johnson • Paul Hyde • Brent Bambury • Michael Winter • Bob Lenarduzzi • Lainey Lui • Kid Carson Show • Natalie Brown • and more! ALL procEEDS support DOXA’S MISSION to BRING you THE BEst IN documENtary FILM . RAFFLE BUY TICKets foR YOUR CHance to WIN THese GReat PRIZes! COMOX VALLEY VacatIon PacKage AIR GROUse MoUntaIN ZIPLIne passes » Vancouver-Comox return flights on Central Mountain Air foR foUR » Weekend hotel spa retreat at Old House Village Hotel & Spa iPOD SHUffLE FROM Mac StatIon » Horne Lake Caves adventure excursion VIctoRIA VacatIon PacKage NOKIA ceLL PHones » Vancouver-Victoria return flights on Helijet . AND morE! » Luxury stay at Hotel Grand Pacific Tickets on sale at festival venues throughout DOXA . Draw date: May 31, 2009 . Visit www .doxafestival .ca for more information . THE DOCUMENTARY MEDIA SOCIETY DOXA is presented by the Documentary Media Society, a Vancouver based non-profit, charitable society (incorporated in 1998) devoted to presenting independent and innovative documentaries to Vancouver audiences . The society exists to educate the public about documentary film as an art form through DOXA — a curated and juried festival comprised of public screenings, workshops, panel discussions and public forums . Executive Director Guest Curators Joni Cooper Deepa Dhanraj, Cornelius Moore, Haida Paul Director of Programming Board of Directors Kristine Anderson Carolyn Combs, Carri Emerick, Sonia Fraser (treasurer), Ben Garfinkel, Isabella Kessel, Stacy Leblanc (chair), Kenji Maeda, Director of Development Teri Snelgrove (vice-chair), Dorothy Woodend (secretary) Lauren Weisler Programming Committee Finance and Operations Coordinator Kristine Anderson, Tami Wilson, gloria wong, Dorothy Woodend, Nancy Loh Patti Zettel Special Events and Volunteer Coordinator Screening Committee Andrew Wright Sonia Marino, Karie McKinley, Jordan Paterson, Education and Youth Coordinator, Programming Assistant, Frances Wasserlein, Meredith Woods and Print Traffic Coordinator Tammy Bannister Fundraising Committee Mark Busse, Janice Chutter, Sonia Fraser, Isabella Kessel, Marketing and Outreach Coordinator Kenji Maeda, Rachel Moffat, Teri Snelgrove, Lauren Weisler, Erin Offer Andrew Wright Media Relations Community Outreach Committee Marnie Wilson / The Artsbiz Public Relations Carri Emerick, Ben Garfinkel, Kenji Maeda, AJ Murray, Erin Offer, Jo Anne Walton Graphic Design Avi Goldberg / bugeyed .ca Program Advisory Committee Nova Ami, Colin Browne, Szu Burgess, Ann Marie Fleming, Fundraising Consultant Cari Green, Colin Low, Alex Mackenzie, Wendy Oberlander, Andrea Seale / Blueprint Fundraising and Communications Aerlyn Weissman, Carmen Rodriguez doxa STAFF & CONTRACTORS (L-R): JONI, Kris, LaurEN, NANcy, ANdy, Tammy, EriN, MarNIE, AVI . doxa Board of dirEctors (L-R): CaroLYN, Carri, SONia, BEN, IsabELLA, Stacy, KENji, TEri, DorotHY . 5 ACKNOWLEDGEMENTS The Documentary Media Society gratefully acknowledges the generous support of our funders, sponsors and partners . PRESENTING PARTNER FUNDERS Funded in whole or part through the Canada-British Columbia Labour Market Development Agreement PRESENTING MEDIA PARTNERS MEDIA PARTNERS MAJOR PARTNERS PRINT PARTNER SHIPPING PARTNER PREMIERE HOSPITALITY PARTNERS HOSPITALITY
Load more

Recommended publications
  • Talk Into Tune
    Talk into tune When Toronto musician Charles Spearin asked his neighbours about happiness, he didn't just listen to their answers - he turned them into songs CARL WILSON From Wednesday's Globe and Mail Published on Tuesday, Feb. 10, 2009 4:45PM EST Last updated on Thursday, Apr. 09, 2009 11:39PM EDT As a piano-trumpet duo skitters around her, a person with a pleasant professional accent talks about her work with “challenged young women” who tell her “all the time” that they're happy. “Some of their expectations are so simplistic – not to say simplicity because they're challenged … ” Then the thought strikes: “It's like they don't ask beyond of what's present.” Immediately the voice repeats: “It's like they don't ask beyond of what's present.” And again: “It's like they don't ask beyond of what's present.” At which point the music makes its own breakthrough. Keyboard and horn link arms with bass and drums and kick out a chorus to the precise tune and tempo of the woman's words. You can almost see her with brass band and challenged charges on parade through New Orleans, fanfaring their be-here-now anthem – sing it, sister! – It's Like They Don't Ask Beyond of What's Present! This is Anna, Track 2 of The Happiness Project, the first solo album by Toronto musician Charles Spearin, which was released yesterday. Actually, solo is a misnomer. A multi-instrumentalist with tight-knit space-rock ensemble Do Make Say Think as well as that legions-strong study in socio-rockology, the popular band Broken Social Scene, Spearin prefers company – in this case, his whole neighbourhood.
    [Show full text]
  • Gender Equal Cities
    EUROPEAN UNION European Regional Development Fund EUROPEAN UNION European Regional Development Fund URBACT KNOWLEDGE HUB PRESENTS GENDER EQUAL CITIES in partnership with CONTACT US URBACT Secretariat: [email protected] Contact one of the team members: http://urbact.eu/secretariat Contact your National URBACT Point at: www.urbact.eu/urbact-nameofyourcountry URBACT @URBACT URBACT And much more: WWW.URBACT.EU URBACT enables cities to work together to develop sustainable solutions to major urban challenges, through networking, sharing knowledge and building capacities of urban practitioners. It is funded by the European Regional Development Fund and EU Partner and Member States since 2002. Published by URBACT 20 avenue Ségur, 75007, Paris, France Contributors Nuala Morgan Simina Lazar Stefanie Weber Graphic design and layout Printing bialec, Nancy (France) ©2019 URBACT III programme URBACT Knowledge Hub presents: GENDER EQUAL CITIES URBACT III, March 2019 Authors SALLY KNEESHAW, JENNA NORMAN, is an URBACT Programme Expert is a researcher and campaigner. and leads the #GenderEqualCities initiative. Acknowledgments This report was only possible thanks to the professional and personal engagement of many women and men, coming from different countries, backgrounds and generations, who share a common dream of gender equal cities. Thanks to the Gender Equal Cities Core Team: Sally Kneeshaw, Nuala Morgan, Ania Rok of URBACT, Linda Gustafsson of Umeå, and Jaimie Just and Bela Tskhelishvili of CEMR. Also to gender experts sharing their knowledge: Ursula Bauer, Vienna; Chris Blache, Genre et Ville; Léa Delmas, Villiers-le-Bel; Eva Kail, Vienna; Marta Mazurek, Poznan; Siobhán McKenna, Greater London Authority; Mihaela Onofraş, European Association for Local Democracy, Segolene Pruvot, European Alternatives; Maria Sangiuliano, Smart Venice; Maria Stratigaki, Athens.
    [Show full text]
  • Representations of Germans and the Use of Language in Turksih
    REPRESENTATIONS OF GERMANS AND THE USE OF LANGUAGE IN TURKSIH- GERMAN FILMS BY FATIH AKIN AND THOMAS ARSLAN by JASON B. WHITTIER (Under the Direction of Christine Haase) ABSTRACT Over the past twenty-five years Turkish-German films have emerged and achieved prominence among German cinema. Tevfik Baser’s 1986 film 40 Quadratmeter Deutschland paved the way and inspired many of today’s successful and diverse Turkish-German directors. Recent research on Turkish-German cinema has been primarily concentrated on the representation of Turkish and bi-national identity issues in German society.However, another angle I examinein my thesisis the representation of non-minority Germans and the role of the German and Turkish language. I will focus my analysis on films by Fatih Akin and Thomas Arslan, who have had a significant impact in Turkish-German cinema. While these directorsoffer different perspectives on identity issues facingTurkish-Germans, bothdepict Germans as minorities within the confines of their own cities. One strategyfor this marginalization of the majority revolves around these directors’use of language and subtitles. INDEX WORDS: Turkish-German, cinema, Fatih Akin, Thomas Arslan, Geschwister- Kardesler, Dealer, Kurz und schmerzlos, Gegen die Wand, Auf der anderen Seite REPRESENTATIONS OF GERMANS AND THE USE OF LANGUAGE IN TURKISH- GERMAN FILMS BY FATIH AKIN AND THOMAS ARSLAN by JASON B. WHITTIER B.A., West Virginia University, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2010 © 2010 Jason B. Whittier All Rights Reserved REPRESENTATIONS OF GERMANS AND THE USE OF LANGUAGE IN TURKISH- GERMAN FILMS BY FATIH AKIN AND THOMAS ARSLAN by JASON B.
    [Show full text]
  • The Cord Weeklythe Tie That Binds Since 1926 CRISIS, WHAT CRISIS? NETWANKING BACK in BLACK
    The Cord WeeklyThe tie that binds since 1926 CRISIS, WHAT CRISIS? NETWANKING BACK IN BLACK . Examining_ the growing food crisis af- Facebook or Twitter? Comparing the Attack in Black talk to The Cord be- ... fecting the world PAGE 10 giants of the social web ... PAGE 12 fore their Thursday show ... PAGE 24 Volume 49 Issue 28 WEDNESDAY, APRIL 1,2009 www.cordweekly.com Culture Jamming The perfect way to spend April Fool's Day. A feature by Kari Pritchard See pages 14-15 Bus pass Curlers extended golden Laurier students to be granted May-August The women's curling coverage with Grand River Transit service team claimed Laurier's 11th national title last MORGAN ALAN in school full-time, they will still weekend in Montreal STAFF WRITER be granted year-round access. A similar system is currently in place Effective May 1, full-time Laurier at the University ofWaterloo. LUKE DOTTO STAFF undergraduate students will be "The benefit to students is quite WRITER able to ride Grand River Transit high, given the number of students (GRT) buses year-round by show- who will be able to access [the ser- History has a tendency to repeat it- ing their Onecards. vice]," said Colin Le Fevre, WLUSU self for the Golden Hawks women's Previously, student fees only president. curling team. One covered GRT bus use for the aca- The expansion will necessitate year after claiming the first ever Canadian Interuniversity demic year. Students wishing to an increase of roughly 18 percent Associa- use public transit in the summer in the bus fee.
    [Show full text]
  • Folklore/Cinema: Popular Film As Vernacular Culture
    Utah State University DigitalCommons@USU All USU Press Publications USU Press 2007 Folklore/Cinema: Popular Film as Vernacular Culture Sharon R. Sherman Mikel J. Koven Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the American Film Studies Commons, and the Folklore Commons Recommended Citation Sherman, S. R., & Koven, M. J. (2007). Folklore / cinema: Popular film as vernacular culture. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. FOLKLORE / CINEMA Popular Film as Vernacular Culture FOLKLORE / CINEMA Popular Film as Vernacular Culture Edited by Sharon R. Sherman and Mikel J.Koven Utah State University Press Logan, Utah Copyright ©2007 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322–7200 Manufactured in the United States of America Printed on recycled, acid-free paper ISBN: 978–0–87421–673-8 (hardback) ISBN: 978–0–87421–675-2 (e-book) Library of Congress Cataloging-in-Publication Data Folklore/cinema : popular film as vernacular culture / edited by Sharon R. Sherman and Mikel J. Koven. p. cm. ISBN 978-0-87421-673-8 (hardback : alk. paper) -- ISBN 978-0-87421-675-2 (e-book) 1. Motion pictures. 2. Folklore in motion pictures. 3. Culture in motion pictures. I. Sherman, Sharon R., 1943- II. Koven, Mikel J. PN1994.F545 2007 791.43--dc22 2007029969 Contents Introduction: Popular Film as Vernacular Culture 1 I.
    [Show full text]
  • Northern Cree When It's Cold Cree Round Dance Songs
    Charlotte Cornfield The Shape of Your Name “You free yourself when you take away the script,” says Toronto songwriter Charlotte Artist: Charlotte Cornfield Cornfield. “That’s where this record came from, dismantling patterns and embracing Title: The Shape of Your Name the process.” Cornfield’s third full length, The Shape of Your Name, is set to arrive in Genre: Singer-Songwriter, Indie, Folk April 5, 2019 via Outside Music imprint Next Door Records. The album has a more Recommended if you like Phoebe Bridgers, Big Thief, Julien honed studio sound than her scrappier 2016 release Future Snowbird, and for good Baker, Soccer Mommy, boygenius, Lucy Dacus reason: it was recorded in 5 different sessions over the course of 3 years. The songs are her strongest and most striking to date - contemplative and contemporary, funny Release Date: April 5, 2019 and heart-wrenching - and they’ve got that stuck-in-your-head-for-days quality that LP: NDR0001 Cornfield is known for. The Shape of Your Name features a star-studded cast of LP UPC: 623339912617 collaborators including (but not limited to) Grammy-winning engineer 12” Slip Sleeve Shawn Everett (Kurt Vile, Alabama Shakes, Weezer, Julian Casablancas), Broken Social Scene members Brendan Canning, Kevin Drew and Charles Spearin, and Montreal songwriter Leif Vollebekk. “My initial intention wasn’t to make a record at all,” Cornfield muses. “The whole thing CD: 23339-9126-2 kind of happened by accident. I went to The Banff Centre to do a residency and came CD UPC: 623339912624 out with these recordings that I knew I wanted to use for something but wasn’t sure Digipak what.” She brought the unfinished songs to her former roommate Nigel Ward in Montreal.
    [Show full text]
  • CST120 CONSTELLATION Do Make Say Think Stubborn Persistent Illusions
    Do Make Say Think Stubborn Persistent Illusions 2x180gLP • CD • DL Release Date: 19 May 2017 “Do Make Say Think legitimize post-rock as a term of art... engender some of the most honest, unpretentious, group-oriented rock of their time." – Popmatters “Experimental rock on the grandest and most impressive of scales with not a trace of musical mildew or corrosion." – The Wire “The supernova in Constellation’s stellar network... arguably the finest back catalogue of any currently operating instrumental rock band." – Drowned In Sound Do Make Say Think has been widely celebrated as one of the preeminent instrumental rock bands of the 90s-00s. Stubborn Persistent Illusions is the group’s first album in eight years – and a stellar addition to one of the most consistent, inventive, exuberant, satisfying, and critically acclaimed discographies CST120 CONSTELLATION in the ‘post-rock’ canon. Following Other Truths (2009), the five members of DMST pursued other creative TRACKLIST: projects, while all continuing to stay firmly rooted in Toronto. An invite from 01 War On Torpor Heartland Festival and Constellation to play the label’s 15th Anniversary shows in 02 Horripilation Europe in fall 2012 brought DMST back to the stage in very fine form – the band 03 Murder Of Thoughts worked up a bevy of gems from their catalogue and absolutely killed live. A 04 Bound rekindling was sparked, leading to new writing and recording sessions throughout 05 And Boundless 2014-2016. Overdubbing, ‘underdubbing’, gestating and mixing was helmed by 06 Her Eyes On The Horizon band members Ohad Benchetrit, Charles Spearin and Justin Small at Ohad’s 07 d=3.57√h (As Far As The Eye Can See) 08 Shlomo's Son studio th’Schvitz: Stubborn Persistent Illusions is a reminder and continuation of 09 Return, Return Again the group’s DIY ethos, and the integral role played by their singular self- production acumen and aesthetic.
    [Show full text]
  • German Cinema in the Age of Neoliberalism, Hester Baer.Pdf
    FILM CULTURE IN TRANSITION GERMAN CINEMA IN THE AGE OF NEOLIBERALISM hester baer This content downloaded from 128.8.44.222 on Wed, 14 Jul 2021 13:28:12 UTC All use subject to https://about.jstor.org/terms German Cinema in the Age of Neoliberalism This content downloaded from 128.8.44.222 on Wed, 14 Jul 2021 13:28:12 UTC All use subject to https://about.jstor.org/terms This content downloaded from 128.8.44.222 on Wed, 14 Jul 2021 13:28:12 UTC All use subject to https://about.jstor.org/terms German Cinema in the Age of Neoliberalism Hester Baer Amsterdam University Press This content downloaded from 128.8.44.222 on Wed, 14 Jul 2021 13:28:12 UTC All use subject to https://about.jstor.org/terms The publication of this book is made possible by a grant from the University of Maryland, College Park. Cover illustration: Patrick Bauchau & Crew in The State of Things (Portugal, USA, Germany 1981/82) by Wim Wenders © Wim Wenders Stiftung 2015 Cover design: Kok Korpershoek Lay-out: Crius Group, Hulshout isbn 978 94 6372 733 4 e-isbn 978 90 4855 195 8 doi 10.5117/9789463727334 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) H. Baer / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise).
    [Show full text]
  • Collectivity, Capitalism, Arts & Crafts and Broken Social Scene
    “A BIG, BEAUTIFUL MESS”: COLLECTIVITY, CAPITALISM, ARTS & CRAFTS AND BROKEN SOCIAL SCENE by Ian Dahlman Bachelor of Arts (Hons.), Psychology and Comparative Literature & Culture University of Western Ontario, 2005 London, Ontario, Canada A thesis presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Communication and Culture Toronto, Ontario, Canada, 2009 © Ian Dahlman 2009 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-59032-4 Our file Notre référence ISBN: 978-0-494-59032-4 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • The Watermark: a Journal of the Arts
    University of Massachusetts Boston ScholarWorks at UMass Boston The aW termark: A Journal of the Arts Student Journals 1-1-2000 The aW termark: A Journal of the Arts - Vol. 08 - 2000-2001 University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/watermark Part of the Fiction Commons, Nonfiction Commons, and the Poetry Commons Recommended Citation University of Massachusetts Boston, "The aW termark: A Journal of the Arts - Vol. 08 - 2000-2001" (2000). The Watermark: A Journal of the Arts. Paper 8. http://scholarworks.umb.edu/watermark/8 This Journal Issue is brought to you for free and open access by the Student Journals at ScholarWorks at UMass Boston. It has been accepted for inclusion in The aW termark: A Journal of the Arts by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. 0 THE IVaTERMZVRK A Journal of the Arts • University of Massachusetts • Boston Digitized by the Internet Archive in 2015 https://archive.org/details/watermarkvolume808univ THK vVaTEI^MARU A Journal of the Arts • University of Massachusetts • Boston 2000-200I Whenpower leads man toward arrogance, poetry reminds him ofhis limitations. Whenpower narrows the areas ofman's concern, poetry reminds him ofthe richness and diversity ofhis existence. Whenpower corrupts, poetry cleanses. JohnF. Kennedy Front Cover: "Street Lights" Acrylic on Canvas Josephine Bottari Back Cover: "Celebration Of The Goddess Within" Acrylic on Canvas Cristin Chmielinski 1 Editor ArtJurors Kendra A. FitzGerald Samantha Palmer Josephine Bottari Assistant Editor Elizabeth Ward Matthew Breton Maya Grigorovich-Barsky Gallery Coordinator Poetry Readers Samantha Palmer John Rhilinger John Black Art Editor Adam Garnett Michele Lisio Philip Nerboso Poetry Editor Prose/Drama Readers James Dow Thomas Olivieri Carmella Kearsley Johansen Prose/Drama Editor Jonus Jason Campos Morgan Turano Editor's Note The Watermark is a student run organization which has survived at UMass Boston under many names and forms since 1979.
    [Show full text]
  • A Coffee in Berlin a Film by Jan Ole Gerster
    presents A COFFEE IN BERLIN A FILM BY JAN OLE GERSTER Official Selection - AFI Film Festival 2013 Winner of six 2013 German Film Academy Awards, including Outstanding Feature Film, Best Director, Best Actor and Best Screenplay 88 min., Germany, 2012 Official site: http://www.musicboxfilms.com/acoffeeinberlin Press Materials: http://www.musicboxfilms.com/acoffeeinberlin-press NY Publicity: LA Publicity: Brigade Marketing Landmark Theatres Adam Kersh Steve Indig [email protected] [email protected] Caitlin Hughes 415-352-0832, ext 2 [email protected] (917) 551-5829 Music Box Films Marketing & Publicity Distribution Contact: Brian Andreotti: [email protected] Andrew Carlin Rebecca Gordon: [email protected] [email protected] 312-508-5361/ 312-508-5362 312-508-5360 Online Publicity: MPRM Rene Ridinger: [email protected] 323-933-3339 x 4271 Shelby Kimlick: [email protected] 323-933-3399 x4248 SUMMARY Jan Ole Gerster's wry and vibrant feature debut A COFFEE IN BERLIN (originally titled OH BOY), which swept the 2013 German Oscar Awards, paints a day in the life of Niko, a twenty-something college dropout going nowhere fast. Niko lives for the moment as he drifts through the streets of Berlin, curiously observing everyone around him and oblivious to his growing status as an outsider. Then on one fateful day, through a series of absurdly amusing encounters, everything changes: his girlfriend dumps him, his father cuts off his allowance, and a strange psychiatrist dubiously confirms his 'emotional imbalance'. Meanwhile, a former classmate insists she bears no hard feelings toward him for his grade-school taunts when she was “Roly Poly Julia,” but it becomes increasingly apparent that she has unfinished business with him.
    [Show full text]
  • Transmedial Collaborative Productions in Secret Path and Airplane Mode
    DOI: http://dx.doi.org/10.5007/2175-8026.2018v71n2p189 TRANSMEDIAL COLLABORATIVE PRODUCTIONS IN SECRET PATH AND AIRPLANE MODE Camila Figueiredo1* 1Editora Universidade Federal de Minas Gerais, Belo Horizonte, MG, Brazil Abstract he term “transmedia” has gained popularity in the entertainment industry and has been widely used to designate the use of several media platforms that converge to tell a story. As a result, transmedia changes the modes of consumption and production of contemporary cultural products. On one hand, transmedial projects attract consumers that are no longer just readers or players (or users, spectators, etc.), but are a combination of them. On the other hand, these projects oten require “superproducers” or “superartists”, with knowledge and skills in various media, or a well- planned collaboration between producers or artists. In this article, we will examine the collaborative productions in the Canadian Secret Path (2016) and in the Brazilian Airplane Mode (2017) transmedial projects. Keywords: Transmedia; Transmedia Project; Transmedia Franchise; Secret Path; Airplane Mode. * Doctor in Comparative Literature from Universidade Federal de Minas Gerais (UFMG), Brazil. Her research focuses on Intermedial studies, with an emphasis on Transmediality and Adaptations. She currently works at UFMG Publishing House (Editora UFMG), as Editorial Manager and Vice-Director. Her email address is [email protected]. Esta obra tem licença Creative Commons 190 Camila Figueiredo, Transmedial Collaborative Productions in Secret Path and... he term “transmedia” has gained popularity in the last decade in the entertainment industry and has been widely used by artists, producers, brands, game developers and critics. he expression that originated it, “transmedia storytelling”, was irst used by Marsha Kinder and Mary Celeste Kearney as a promotional practice involving merchandising, adaptations, sequels and franchises (Evans 20-21).
    [Show full text]